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The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

Following the collaborative releases with DJ Duckcomb, Emotional Rescue teams with “discodub” specialist NAD aka Dan Tyler (Idjut Boys) in the continual documentation of the crucial role played by the Caribbean diaspora in Britain’s music history.

Of the many who have made a mark, Clifton “Sonny” Roberts maybe one of the most unheralded. Upon arrival in the early migration from the Caribbean, Roberts used his carpentry vocation to build and operate the first Jamaican recording studio and then black owned record shop in the country.

Working alongside and sharing offices with a young Chris Blackwell and Trojan founder, Lee Gopthal, Roberts’ trailblazing through his Planetone and Orbitone labels were pivotal in bringing first Ska, then Reggae and on to Lovers Rock to prominence, as well as releasing influential Afrobeat and rising Disco sounds of the day.

It is on the sub-label Cartridge that the mega-rarity I Want You appeared in summer 1982. Teaming up with vocalist Joseph “Remy” Martin, the original 12” is a wonderful mixture of all their influences; soulful vocals, unrelenting boogie groove, afro keys, all pinned by reggae bass.

A heavily saturated Discomix is then created by Dan Tyler aka NAD. A dub masterclass with live desk filter passes and flanging, all running through spring reverb for a true Tubby disco-rockers ride, this is a sound system treasure with more to follow soon.

First ever vinyl edition of "Zeder" soundtrack, one of the best Italian thriller/horror movies ever!



The music composer is Riz Ortolani ("Mondo Cane" and "Cannibal Holocaust" stand out among his many works), here collaborating with director Pupi Avati for the second time: this soundtrack expertly blends electronic and symphonic music, the latter here consisting mainly of an orchestral string section often repetitive, hypnotic and insistent, that reflects the arrogance of the protagonist in continuing his research, no matter what the consequences could be. There is no shortage of funk-filled brighter themes and requiems, suspended songs full of tension and sudden vibe changes, melancholic melodies and eerie soundscapes.



"Zeder" is today a cult movie, released in theaters in 1983, at a time when hardly anyone dared to shoot anything that had to do with zombies. Pupi Avati went against the tide then, giving life to an atmospheric horror film set in a sunny Italian Romagna Riviera - a typical destination for cheerful summer holidays - which tells the discovery of ancient experiments by researcher Paolo Zeder on a special 'K terrain' that allow those buried there to return from beyond. Avati's stylistic approach, in which tension and fear arise from simply narrated situations instead of full-blooded scenes with a strong visual impact, finds here a perfect match with Maestro Riz Ortolani's score.

Javi Frias has earned a solid reputation as a producer on the international disco scene since he began releasing his edits and reworks back in 2015. However, this year, during confinement, he decided to put editing aside to unleash his creativity and start recording his own productions, playing with synthesizers, electric pianos, syncopated basses and tribal percussion, and the result is this 'Sunset Disco EP'. A collection of songs that take us to a summer sunset on a beach in paradise that represent a huge leap in the career of this artist. The A side begins with 'Give Love', a hedonistic and melancholic disco song, followed by 'Noche Tropical', with Balearic overtones and reminiscences of a Caribbean party. Side B opens with 'Are You Really Fellas?', a funky little number featuring jazzy guitars and smashing bass. 'Dance With Me' brings us back to the field of the emotional and evocative disco. And finally 'Musical Connection', with touches of reggae downtempo perfect to say goodbye to this eternal and warm sunset.

'Bedsitland' features three of the classic 1978 line up of The Members that recorded anthems and international hits for Stiff, Virgin
and Arista in the 70s and 80s.
The 'Bedsitland' album features ten fantastic new songs. What sets The Members aside from their contemporaries is the breadth of
the styles of music - sparkling guitars, throbbing bass, plus a lush mix with violins, whistles, uilleann pipes and accordions: New
Wave, Surf, Glam, Reggae and Punk mutate into a soup that is both unique and English. Echoes of The Kinks and early Floyd collide
with Krautrock beats and screaming leads. JC's unerring ability to write songs that tell stories and communicate directly with the
listener underpins the whole album. From the social isolation of the title track to the hypnotic, filmic 'The Day The World Stood Still'
through the travelogue of the 'Streets of Nairobi', The Members take you on a journey

Emotional Rescue and HMV Record Shop (Japan) present Red Cloud and their roots disco rarity I Want To Be Free, with it's even scarcer dub version Freedom, together on 7" for the first time as part of the DISCO REGGAE LOVERS series.

This Brixton based band appeared on Emotional Rescue last summer with their Double Talk / Dubble Dub 12" (ERC102) rightly shining a light on their underrated output. Releasing on Tuff Gong, Red Stripe and Dancefloor the band released two albums and numerous singles of warm, rock-soul touched British roots sound system shakers.

I Want To Free / Freedom only appeared on the B-side of their super rare debut 12". While the A side's Double Talk was 'inna Lovers Disco style', here they keep the groove but explore the righteous stance of Pan African-Caribbean culture of the time, with a call for equality and fairness.

Centred around the writing of Keith Drummond and drummer / producer Specs Bifirimbi, plus support from founder Floyd Lloyd Seivright, it is in the dub version, Freedom, that the interplay of keys and drum and bass shine, a rock-reggae-disco bomb.

One of the beautiful qualities of the Bellingham music community was the fact that many different groups of various genres could coexist and even perform comfortably throughout the half-dozen venues in this little Northwest college town in the most northwest corner of the most northwest state in the lower 48.

The original roots soulfunk juggernaut of Joel Ricci's "The Lucky Seven" known in their town as "The Leaders of the Funk Revolution," attracted a certain cadre of party goer, as did Dan Lowinger's rugged rockabilly quartet "The Foot Stompin' Trio". At Footstompin gigs, Lowinger would be found deftly chicken pickin' that honky tonk tele' and was known to impress the audience so much with his licks, they would throw buckets of beer on him as a show of their love and appreciation. It was only a matter of time before Dan and Joel were lucky enough to get the chance to perform together and toured the States for a few years together with a fiery ska/reggae/rocksteady powerhouse also out of the Bellingham area, "The Yogoman Burning Band". Dan and Joel recorded many demos together and contributed original material to the Burning Band, but the proto-rock of "Please Some", is pure Royal Dees. This tune, composed and recorded by Ricci, was actually conceived as a submission to Tramp Records and remained unfinished for many years while also suffering from the degradation of the original cassette it was recorded on. The Duo re-recorded again 4 years later when they were both living in Portland, Oregon and that version lives today as side D's "alternate take" which Ricci found in his cassette archive over the summer. This version also came with it's own set of audio issues, notwithstanding the botched ending, which we have retained here for you as the loose and roots funky vibe of the whole take justifies it's inclusion.

Finally, Joel and Dan's friend and comrade Doug Krebs, who happened to also be a well-loved member of that same Bellingham music community, especially as the go-to sound and mastering engineer, came through in spades to rescue the two pieces and prepare them for proper release on this, the one and only Royal Dees release to see the light of day on the bold and inimitable Tramp Records.

Stix Records, a sub-label of Favorite Recordings, is back with some heavy dub cuts from label regular Mato with its usual special skills as a tailor of reggae music.

On Side A, Mato focuses on the infamous "Summer Madness", originally composed by Kool & The Gang. Providing a fresh dub rework, the song will make you dream of hot wet summer nights, gently rocked by beautiful guitar melodies and sweet Fender Rhodes chords. Just a perfect match for all forthcoming summers of love!

On Side B, Mato takes care of "Use Me", originally composed by Bill Withers on his Still Bill album. Expect funky and bouncy clavinets and a nice melodica line for this rework of a timeless classic. As Mato once said, "Play it loud and burn a chalice!"

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound ... In the meantime he developed a real trademark, taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions. Besides, since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Parisian label Chuwanaga proudly presents Latitude, Saint-James label co-founder new studio project. Keeping it close to the deep jazz-funk ethos of the label, Latitude brings to the light two luminous songs of joy and hope for a better day, highly danceable yet rich and complex grooves with a human feel to feed your soul and make you move. Their new EP Leo / Attitude presents these first effort with a Dub Remix by Mato: plenty of diverse tastes for every music enthusiasts. Available as Vinyl 12" and Digital.

Latitude is french. Not a random collection of chansons sung in french. Latitude is so french in its sheer elegance, in its simple yet so sophisticated seemingly effortless attempt to groove in a pop context, trying to create moments of grace in the process. Latitude is here with the right vibe as the chorus of "Attitude" says it in french: "It’s the bad attitude, always the good latitude". Latitude is sprung out of the wicked musicianship of Parisian jazz-funk and fusion mavericks and Saint-James tight and adventurous compositions and production. All that jazz combined with David Cukier (Greita) retro-futurist engineering skills in these intense sessions captured in his cutting edge vintage Delta studio.

On A Side, "Leo (Extended Mix)" is an uptempo disco track for the dancers but also a beautiful song for the summer. A seductive number with a pregnant classic French jazz-funk feeling with the help of Parisian singer Club Celest’s energy and beautiful voice. It comes on digital as a short edit for radio but as a serious extended 12inch mix on the vinyl with 8 minutes and 10 seconds of pure pleasure, ending in a real climax after an irresistible percussion break.

On B1, "Attitude" enchanting quality shines with a banging rhythm section and goes for the win as an anthem chorus while sweeping synths keep on growing till the very last drop. On B2, Reggae/Dub don Mato (Stix Records) delivers a sweet dub wise riddim for the Lovers Rock massive.

It all starts with a great song and “You Baby” has it all! Penned by husband and wife team Barry Mann and Cynthia Weil with the magic touch of Phil Spector – what an awesome trio – and the bedrock of a future classic.
The song was originally produced by Spector for the Ronettes, signed to his Philles label, and appeared on their 1964 breakthrough album ‘Presenting The Fabulous Ronettes’ featuring, of course, his wife to be Veronica Bennett. The song was also recorded in the U.S. by pop/rock band the Lovin’ Spoonful for their 1965 debut album ‘Do You Believe In Magic’.
However, in January 1966 Pye Records unleashed JACKIE TRENT’s epic Northern Soul version produced by her husband Tony Hatch. Heralded by a pounding drum beat and trumpet blast it is no wonder that Jackie’s definitive cover shook the walls at Wigan Casino a decade later. And its popularity has never gone away, hence its current price tag of £300-400! Check out Jackie’s performance on the Morecambe and Wise Show on YouTube, what an intro!
“You Baby” was also recorded in May ’66 by Cameo Parkway’s Lovenotes in a very similar vein and in November ’66 by the legendary Len Barry. Other notable cover’s include Sonny & Cher, the Bubblegum pop group Salt Water Taffy and, in 1975, John Holt’s reggae version.
“Lost Summer Love” was originally recorded in 1964 by U.S. actress Shelley Fabares known for her long-running role as Mary Stone in the sitcom ‘The Donna Reed Show’ and as Elvis Presley’s leading lady in ‘Girl Happy’, ‘Spinout’ and ‘Clambake’. She also scored a No.1 pop hit in 1962 with the teen anthem “Johnny Angel”. But, as with our ‘A-side’, it was reborn as a Northern Soul classic when Pye Records picked the song up in 1965 and recorded it on their latest signing, teenager LORRIANE SILVER. Once again the stomping drum track, percussion and handclaps propel you to the dancefloor where you’re greated with an unforgettably catchy tune, a bevvy of backing vocals and Lorraine’s effervescent vocal.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

"The second in the series of DJ Duckcomb affiliated reissues brings the Jamaica / London connection to light, with a reissue of the Brixton based band Red Cloud under the spotlight.

Double Talk was their debut release, coming on House / Freestyle / Reggae label Dancefloor Records, first explored by Emotional Rescue several years ago. After meeting with label head, Jeffrey Collins, in his then London base, the band went on release 2 albums, a 12" and 7" with him, as well as notably being Floyd Lloyd Seivright's backing band.

The original 1983 12"" - now a highly sought after digger's disco reggae bomb - Double Talk is a perfect summer Lovers jam. A tale of sweat talking, cross loving and loss, with redemption and strength, all backed by an uplifting drum and bass, with guitar, keys and piano highlighting the JA climbs instilled in dem sound.

Dubble Dub brings it all down, stripping away and lifting the interplay between keys and piano, allowing guitar to ride above warm bass grooves.

On the flip Duckcomb returns, with his now trademark riding the vocal'n'dub, gently teasing'n'pulling, looping'n'flipping, before letting the echoplex loose to just let the wonderful groove bump'n'grind.

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.

Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.

Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.

A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.

The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful.

Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems.

A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style.

Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits.

Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles.

Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.

For Farsight, California’s bucolic San Geronimo Valley was the space that allowed for the creation of this handpicked selection of artistic output. Following a period of deep interest in abstract painting and its relationship to music, the artist found this lush and sparsely populated region to be an ideal location for contemplation and composition.

Although the majority of the work was executed in the first two months of 2020 in this forested setting, some of the pieces were based upon drafts created as early as Summer 2017. United in their eclecticism, the six cuts that comprise “Not Here, But Somewhere'' reveal a broad spectrum of musical influences. They are statements in an age in which influence is omni-directional, and in which the pace of artistic invention outstrips the ability of observers to identify and reify sub-genres. Although each track presents a unique approach, “Cadena,” “Sans Titre,” and “Door to the River'' reflect the continuing global suffusion of Latin American and Carribean styles such as reggaeton and dancehall. Simultaneously, the duo of “While” and “Hot Half” suggest the ongoing dialogue of techno, electro, and industrial music and the interstices between them. “Mid-Winter Burning Sun”
invokes the intensity of American trap music with its booming bass while touching equally upon the feel of early dubstep.

Ultimately, the idea that there is a “space for each artist” can be taken both in a literal sense— One’s physical environment— And also in the figurative sense that there is room enough for the ideas of all artists, who are kindred spirits in the endeavor of radical self-expression. In this way, “Not Here, But Somewhere” exists as an acknowledgement and gesture of goodwill towards every artist daring enough to explore the unknown.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

The globetrotting beat maestro is back, with a truckload of tropical vibes and the irresistibly danceable soundtrack to your Summer! 3 years after releasing his groundbreaking collaborative album with singer Chico Mann (which landed him live sets on Boiler Room & KCRW's Morning Becomes Eclectic as well as a feature on NYTimes "Best Songs Of The Week") DJ/producer Captain Planet returns with NO VISA, set to drop June 26th on Bastard Jazz Recordings. In his trademark "Gumbo Funk" sound, the album mixes rhythms and musical styles from the Caribbean, Latin America, the Middle East and Africa, over highly danceable electronic beats, all firmly rooted in the hip hop, dancehall and house music that the Captain grew up playing as a DJ. Seamlessly bouncing from Brazilian Baile Funk, to Afrobeat, to Roots Reggae and Latin House, the entire record delivers the uplifting feel of one of the Captain's legendary boundary-crossing DJ sets. Building on these traditions he draws from, the Captain has created something fully original and unique.

NO VISA, the 5th full-length album from producer Charlie Wilder (aka Captain Planet), is both a return to form and a launchpad into the future. With 13 songs that feature vocalists from around the world, long-time fans will recognize several previous collaborators as well as the global influences that have always been central to Captain Planet's music. New friends, like prolific Zimbabwean-American singer Shungudzo (who has recent hits with Oliver Heldens & Rudimental), and Jamaican reggae star Jesse Royal, bring powerful subversive messages to the music as well. Showcasing the Captain's production chops and songwriting talents equally, the album unveils a unique musical landscape, a place where our political boundaries and cultural hierarchies begin to dissolve, where foreign languages mingle together and deep rooted traditions dance with the future.

With NO VISA, Captain Planet unveils a fully matured and truly unique form of electronic music- one that bridges gaps between worldwide cultural diasporas as well as contemporary dance music sub-genres (house, hip hop, dancehall & global bass). Throughout every Captain Planet song, it's clear to hear his inspired appreciation for breaking the boundaries between genres and bridging continents through rhythm.

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

Faze Action return with the 3rd instalment of their 4 part series featuring Zeke Manyika. "Sununguka", sung in Zeke's native Shona, is literally translated to mean, "To unravel oneself and unlock yourself".

It's set over an infectious reggae, boogie rhythm, with an early proto house feel. Featuring backing vocals from Sharon Manyika and heavenly keyboard solos from Rob Lee, this EP is set to take us into summer and beyond.

The package comes with a stunning remix from Alan Dixon who has been lighting up dance floors with his releases on Running Back and more. Here he turns the original into an Italo/electronic Aend of night classics, managing to seamlessly Amerge Zeke's African vocals with a serious bass line, ahead of the curve, contempory production whilst placing the release firmly in the credible main room department.

On "A2" we have Rwendo where Zeke really stretches his songwriting skills as the whole track manages to fuse a variety of rhythms together to create a beautiful downtempo masterpiece.
Finishing off we have the "Special Extended Dub Mix" which strips back the original and turns it into a balearic house gem made for the summer ahead.

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

Following on from the summer hit ‘Sound System Girl’ and the next chapter ‘Jah Love’, we complete the 2019 trilogy with the highly-charged ‘Jumping Sound’ … a stepping jump-up anthem livicated to the power of Reggae & Dub & Sound Systems .. enjoy !!

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.

Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

7"

As we continue our project with the Foundation voce of UK Reggae - Sandra Cross - the next instalment is the electrifying 7"| Sound System weapon called 'Jah Love". This monster riddim has been shaking up speakers across the dub world all summer.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

Stockholm's Linn & Freddie debut excursion with Dinked Records sees two wonderful summery tunes, taken from their their long-awaited second album Right Here in the Middle, pressed up on 7 vinyl for the first time. The aptly named Sunshine is the perfect head nodder for those summer BBQs and Festivals. Flipped with a reggae/ska-fused version of the William DeVaughn classic, Be Thankful For What You Got this essential for your crates. Limited pressing of 500 copies don't sleep!!

To mark the 50th anniversary of Trojan Records comes 'Trojan Ska & Reggae Classics', a double vinyl album comprising 24 of the most celebratory Jamaican music hits from the iconic label's legendary catalogue.

Released in tandem with the TV advertised 3CD version of the same name, this joyous collection showcases the very best in classic Caribbean sounds, from rude boy ska to dancehall anthems, with the set featuring an incredible 22 Top 50 UK chartbusters, including 4 UK Number 1s and 13 Top 10s.

The perfect musical accompaniment for the summer of 2018 and beyond, this blistering 2LP vinyl collection compilation ably demonstrates just what makes Trojan so special and why it remains the world's greatest reggae label, half a century since its launch.

As an integral part of the Trojan 50 marketing campaign, the LP will be heavily promoted via the label's website, Facebook & Twitter pages, Instagram and YouTube channel.




















[T] D2 | Desmond Dekker - You Can Get It If You Really Want

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

* Log On Records & Signature Sound Studios in conjuction with ISR Records, present the latest collection of Roots Reggae Vocals from esteemed producer Martin Campbell. The album features a plethora of new artists from the San Diego area. The album was compiled during 2015/2016 Stateside and then the final mix was produced by Alien Dread at AD Studio (UK) late 2016. This is 'the' eagerly anticipated new release from Martin, with his 5000+ fans on Facebook giving the early demo tracks a rapturous reception. Featured artists: Louie Castle,James McWhinney, Marcie Lee,Danny Dread,Ilex Monique,Pappa Monte,Ivan Garzon,E.N.Young,Davey Roots, drian"AK"Cisneros,Jarrod King. * 12'LP on Log On label in Picture Sleeve, cellobag outer. * Produced by David Hahn (San Diego) & Martin Campbell * Mixed By: Alien Dread at AD Studio (Uk). * Special limited editon of 500 only, album release featuring new artists.

Outstanding three track EP from the archives of Caliban (A side project of London musician Milton Myrie, a session guitar player who worked with cult UK buddhist afro and reggae band Ozo as well as on the much sought after Steel and Skin 'Afro Punk Reggae' 12'). Talk about bang for ye buck.. 1 side crucial oddball digital cuts, b side sounds like a UK jazz funk classic... Gold Print Sleeve. BIG TIP!
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Caliban produced only one self-released 7' 'Open Mind / Digital Reggae' in 1984.

Following the re-discovery of this very little known 7' by Caliban a few years back, UK producer Jackson Bailey aka Tapes managed to track Milton down, who as well as being in possession of most of the stock of the original record, was also sat on a number of amazing unreleased recordings from the Caliban sessions. With an album of unreleased Caliban material compiled by Tapes to follow later on Music From Memory, this EP introduces one of the unreleased tracks, the incredible feel good disco anthem Supernatural'. Taking us on a glittering, rhythm charged rocket tour of the Funk Cosmos, this until-now-unheard future classic will surely set the summer nights alight.

The three track 12' also includes Digital Reggae' which featured on the original Caliban 7'. This computerised dancehall/funk hybrid was partially penned to address the lack of black culture included in the payload of the United States' first space station, Digital Reggae will be included in the Payload of Skylab!'. As well as the original mix, the EP also includes a new dub put together by Milton himself and assisted by riddim specialist Tapes!

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

Britsh quintet Me and My Friends are set to release their captvatng and mesmerising second album,
Hide Your Way, on Soundway Records this summer. A unique and singular blend, it's the sound of Eng-
lish folk colliding head-on with the golden-era music of 1970s West Africa and the West Indies.
Towering vocal harmonies, soaring cello and clarinet lines, colossal basslines and drum paterns
combine on an exquisite rollercoaster-ride of the emotons from euphoria to melancholia and back
again.
Bound by a mutual love of the sun-drenched vintage sounds of afrobeat, soukous, highlife and roots
reggae, the UK-based 5-piece re-invent these infuences around the instantly recognisable voice and
fnger-style guitar of songwriter and singer Nick Rasle. The band's sound involves a meetng of diverse
musical backgrounds: Fred Harper's gospel-infuenced drumming and James Grunwell's deep basslines
provide the bed for Sam Murray's growling clarinet tone and Emma Coleman's strident cello and faw-
less ear for vocal harmony.
Having enthralled festval audiences across the UK with their breathless live show, Hide Your Way sees
the band embarking on a deeper exploraton of the playfulness and rhythmic agility which has come
to defne their sound. A rich and varied pool of musical ideas sits alongside a plaintve lyricism, as the
songs tell tales of regret, corrupton, loss and deceit. The result is something fresh and original, mar-
rying the emotonal vocal power of folk music with early jazz and delta-blues singing and the driving
rhythms of West-Africa's golden era and the heart and soul of the great roots-reggae songwriters.

Since launching last summer, Rasta Vibez has carved a niche for itself among the drum and bass community for those seeking out some dub and reggae flecked jungle cuts for the dance. Now, after a successful series of 10" hand stamped records, Mystic Pulse kicks off a new 12" series pushing a more serious and distinguished sound with style. Both sides start off halftime but effectively evolve into breakbeat chaos, which has already proven to shake up the dancefloor big time. In short a must have for all ragga muffin junglists!

The world of roots reggae & dancehall has been fully awoken to the fantastic analogue sounds of Kalbata & Mixmonsters' music - and even Rob Da Bank, Robert Elms, & Toddla T and The Wire magazine have supported and enthusiastically raved about their brand new yet wonderfully old school music.

And now - in time for summer festivals and carnivals, the floor shaking, speaker rattling track Congo Beat The Drum featuring Major Mackerel gets the 12 inch single treatment. The pounding drums and the larynx busting vocal performance from the Jamaican veteran is an unstoppable, unforgettable and frankly mesmerising experience!

Released alongside the original (and an instrumental version of stand out album track Out Of Road) is an amazing remix by Kahn - the Bristol based producer, renowned dubstepper, remixer, member of the Sureskank Collective - who with this remix displays his mastery of blending all kinds of styles, and injects his remix with some of his favourite influences - including Middle Eastern music scales - which ensures his reworking of Congo Beat The Drum is fresh, original and inspiring.

This single will be one of the sound system hits of summer 2014!

Meridian Brothers are back with a new studio album, the bizarre and wonderful 'Salvadora Robot'. Heading deeper into the tropical rhythms of Latin America and the Caribbean each song on the album focuses on a different style and playfully twists it into Meridian Brothers's surreal landscape. Released on Soundway Records on 16th June the album was recorded at Eblis Álvarez's appropriately named Isaac Newton Studios in Bogota, Colombia.

Originally formed in 1998 it was the previous album 'Deseperanza' that brought Álvarez's Meridian Brothers to the attention of the wider world. Released worldwide in 2012, the album's unique aesthetic and freaked-out blend of Latin rhythms and psychedelic grooves won him new fans the world over. DJ and tastemaker Gilles Peterson selected 'Guaracha U.F.O (No Estamos Solos...)' as his favourite track of 2012.

'Deseperanza' focussed heavily on salsa rhythms but on his new release Álvarez based each track in a different Latin American style. For example 'Somos los Residentes' finds it inspiration in Dominican Republic merengue while 'Baile ultimo....' is a slow and sad reggaeton. The lyrics talk of a man who has been sent to the electric chair because he was dancing too much reggaeton, a style that isn't accepted as 'good taste' within Colombia.

The release of 'Deseperanza' brought them to Europe for the first time, making appearances across Europe and at some of the prestigious festival including Roskilde and Transmusicales. The band will be returning to Europe this summer.

Brother hits the spot with another smooth and dubby 2 tracker on the Soul Rebel imprint. Drenched with reggae vocals and atmospheric effects the A side is built around heavy drum patterns alligned by some deep down bass action. Where the a side contains a more dark and spooky vibe the B side is more of a roller with some late night summer vibes to it.